Quotes of All Topics . Occasions . Authors
I write for myself and my goal is bringing that world and that experience of black Americans to life on the stage and giving it a space there.
I write for myself, and my goal is bringing that world and that experience of black Americans to life on the stage and giving it a space there.
Part of what our problem as blacks in America is that we don't claim that. Partly, you see, because of the linguistic environment in which we live.
My greatest influence has been the blues. And that's a literary influence, because I think the blues is the best literature that we as black Americans have.
I don't go by what the law say. The law's liable to say anything. I go by if it's right or not. It don't matter what the law say. I take and look at it for myself.
I haven't read Ibsen, Shaw, Shakespeare - except 'The Merchant of Venice' in ninth grade. I'm not familiar with 'Death of a Salesman.' I haven't read Tennessee Williams.
I done learned my mistake and learned to do what's right by it. You still trying to get something for nothing. Life don't owe you nothing. You owe it to yourself. - Troy -
Confront the dark parts of yourself, and work to banish them with illumination and forgiveness. Your willingness to wrestle with your demons will cause your angels to sing.
I ain't never found no place for me to fit. Seem like all I do is start over. It ain't nothing to find no starting place in the world. You just start from where you find yourself.
Between speeches and awards, you can find something to do every other week. It's hard to write. Your focus gets splintered. Once you put one thing in your calendar, that month is gone.
Jazz in itself is not struggling. That is, the music itself is not struggling... It's the attitude that's in trouble. My plays insist that we should not forget or toss away our history.
I'm a black American playwright. I couldn't be anything else. I make my art out of black American culture; they're all cut out of the same cloth. That's who I am; that's who I write about.
We were what you would call a poor family, but we were rich in so many things. We did family things together. We always had dessert, even if it was just Jell-O. So, I never knew I was poor.
Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.
My hero when I was 14 was Sonny Liston. No matter what kinds of problems you were having with your parents or at school, whatever, Sonny Liston would go and knock guys out, and that made it all right.
In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.
As long as the colored man look to white folks to put the crown on what he say . . . as long as he looks to white folks for approval . . . then he ain't never gonna find out who he is and what he's about.
So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.
Blacks in America want to forget about slavery - the stigma, the shame. If you can't be who you are, who can you be? How can you know what to do? We have our history. We have our book, and that is the blues.
Blues is the bedrock of everything I do. All the characters in my plays, their ideas and their attitudes, the stance that they adopt in the world, are all ideas and attitudes that are expressed in the blues.
I believe in the American theatre. I believe in its power to inform about the human condition, its power to heal ... its power to uncover the truths we wrestle from uncertain and sometimes unyielding realities.
I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
The most valuable blacks are those in prison, those who have the warrior spirit, who had a sense of being African. They got for their women and children what they needed when all other avenues were closed to them.
The director works as an interpretive artist, but he's still an artist, so you also have to give him room to create and to put his vision of the play or his translation or interpretation of the material on the stage.
With my good friend Rob Penny, I founded the Black Horizons Theater in Pittsburgh with the idea of using the theater to politicize the community or, as we said in those days, to raise the consciousness of the people.
Most of black America is in housing projects, without jobs, living on welfare. And this is not the case in 'The Cosby Show,' because all the values in that household are strictly what I would call white American values.
Like most people, I have this sort of love-hate relationship with Pittsburgh. This is my home, and at times I miss it and find it tremendously exciting, and other times I want to catch the first thing out that has wheels.
I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
. . . what happened, of course, was that I was writing a play set in the 1940's that was supposed to be somehow representative of black American life, and I didn't have any women in there. And I knew that wasn't going to work.
I think it was the ability of the theater to communicate ideas and extol virtues that drew me to it. And also, I was, and remain, fascinated by the idea of an audience as a community of people who gather willingly to bear witness.
There are always and only two trains running. There is life and there is death. Each of us rides them both. To live life with dignity, to celebrate and accept responsibility for your presence in the world is all that can be asked of anyone.
You are responsible for the world that you live in. It is not government's responsibility. It is not your school's or your social club's or your church's or your neighbor's or your fellow citizen's. It is yours, utterly and singularly yours.
I think the blues is the best literature that we as blacks have created since we've been here. I call it our 'sacred book.' What I've attempted to do is to mine that field, to mine those cultural ideas and attitudes and give them to my characters.
I'm a De Niro fan. I went eleven years without seeing a movie; the last one before that, February 1980, was De Niro and Scorsese in 'Raging Bull,' and when I went back, it was 'Cape Fear,' with De Niro and Scorsese. I picked up right where I left off at.
In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
I had always been fascinated with Napoleon because he was a self-made emperor; Victor Hugo said, 'Napoleon's will to power,' and it was the title of my paper. And I submitted it to my teacher, and he didn't think I had written it. And he wanted me to explain it to him.
The impulse to write the poem, that impulse is a great dramatic impulse. But hell, anybody could write a play. I do know this: all writers are not dramatists. You may be a great writer, but that doesn't necessarily mean you're a dramatist. Very few people have done both.
My first wife is a good woman, I still can't say nothing bad about her other than the fact that we had a difference on religion. She wanted someone who was a Muslim who shared those values. And I was like a heathen. I had to stay home on Sundays and watch the football game.
A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.
What comes forth from you as an artist cannot be controlled. But you have responsibilities as a global citizen. Your history dictates your duty. And by writing about black people, you are not limiting yourself. The experiences of African-Americans are as wide open as God's closet.
I do - very specifically, I remember Bessie Smith; I used to collect 78 records that I would buy from the St Vincent de Paul store at five cents apiece, and I did this indiscriminately. I would just take whatever was there. And I listened to Patti Page and Walter Huston, 'September Song.'
The details of our struggle to survive and prosper, in what has been a difficult and sometimes bitter relationship with a system of laws and practices that deny us access to the tools necessary for productive and industrious life, are available to any serious student of history or sociology.
Scripts were rather scarce in 1968. We did a lot of Amiri Baraka's plays, the agitprop stuff he was writing. It was at a time when black student organizations were active on the campuses, so we were invited to the colleges around Pittsburgh and Ohio, and even as far away as Jackson, Mississippi.
I am not a historian. I happen to think that the content of my mother's life - her myths, her superstitions, her prayers, the contents of her pantry, the smell of her kitchen, the song that escaped from her sometimes parched lips, her thoughtful repose and pregnant laughter - are all worthy of art.
I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.
I'm trying to take culture and put it onstage, demonstrate it is capable of sustaining you. There is no idea that can't be contained by life: Asian life, European life, certainly black life. My plays are about love, honor, duty, betrayal - things humans have written about since the beginning of time.
I've seen some terrible plays, but I generally enjoy myself. One play I walked out of, I have a tremendous respect for the author. That was Robert Wilson, something called 'Network,' which consisted of Wilson sitting on a bunk, the dialogue of the movie 'Network' looped in while a chair on a rope went up and down.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.
The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.